Busan Biennale
The Busan Biennale is a biannual international contemporary art show that integrated three different art events held in the city in 1998: the Busan Youth Biennale, the first biennale of Korea that was voluntarily organized by local artists in 1981; the Sea Art Festival, an environmental art festival launched in 1987 with the sea serving as a backdrop; and the Busan International Outdoor Sculpture Symposium that was first held in 1991. The biennale was previously called the Pusan International Contemporary Art Festival (PICAF) before it launched.
The biennale has its own unique attribute in that it was formed not out of any political logic or need but rather the pure force of local Busan artists’ will and their voluntary participation. Even to this day their interest in Busan's culture and its experimental nature has been the key foundation for shaping the biennale’s identity.
This biennale is the only one like it in the world that was established through an integration of three types of art events such as a Contemporary Art Exhibition, Sculpture Symposium, and Sea Art Festival. The Sculpture Symposium in particular was deemed to be a successful public art event, the results of which were installed throughout the city and dedicated to revitalizing cultural communication with citizens. The networks formed through the event have assumed a crucial role in introducing and expanding domestic art overseas and leading the development of local culture for globalized cultural communication. Founded 38 years ago, the biennale aims to popularize contemporary art and achieve art in everyday life by providing a platform for interchanging experimental contemporary art.
2012 Torus
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관리자 2013-03-25 09:39
Torus
STUDY FOR COMPLEXITY STEP
Kim’s sculptures explore the artwork’s capacity to serve as a model. A model can have different purposes, though: as a formal pattern for future constructions, for example, or as a way of organizing our perception of the world. Both have a place in Kim’s work. The artist is not content with only making artworks; instead, she feels compelled to intervene in Korea’s crippled architectural landscape.“Garden of Learning” shows various works by Kim as a way of attesting to her mastery of extremely different scales. While the smaller sculptures look like the building blocks of an explicit formal language, Kim’s large sculpture (the piece that traverses two floors of the museum was commissioned for this exhibition) comments on the museum’s architecture. Its primary, poetic function is to dissolve the building’s rigid layout, including the idea that the museum is a container – or a grave – for artworks.
The little sculptures stage relational structures, often based on geometric fractals or self-similar patterns. With modest means, they dramatize the transformation of a given structure’s elements, or of the relationships that organize those elements. Again, the sculptures looklike the product of systematic rather than intuitive processes, though they actually prove that the two are not the contradictions they appear to be.